a. net.art is a self-defining term created by a malfunctioning piece
of software, originally used to describe an art and communications activity
on the internet.
b. net.artists sought to break down autonomous disciplines and outmoded
classifications imposed upon various activists practices.

2. 0% Compromise

a. By maintaining independence from institutional bureaucracies
b. By working without marginalization and achieving substantial audience,
communication, dialogue and fun
c. By realizing ways out of entrenched values arising from structured system of theories and ideologies
d. T.A.Z. (temporary autonomous zone) of the late 90s: Anarchy and spontaneity

3. Realization over Theorization

a. The utopian aim of closing the ever widening gap between art and
everyday life, perhaps, for the first time, was achieved and became a real,
everyday and even routine practice.
b. Beyond institutional critique: whereby an artist/individual could
be equal to and on the same level as any institiution or corporation.
c. The practical death of the author

B. Specific Features of net.art

1. Formation of communities of artists across nations and disciplines
2. Investment without material interest
3. Collaboration without consideration of appropriation of ideas
4. Privileging communication over representation
5. Immediacy
6. Immateriality
7. Temporality
8. Process based action
9. Play and performance without concern or fear of historical consequences
10. Parasitism as Strategy

a. Movement from initial feeding ground of the net
b. Expansion into real life networked infrastructures

1. net.art is undertaking major transformations as a result of its
newfound status and institutional recognition.
2. Thus net.art is metamorphisizing into an autonomous discipline with
all its accouterments: theorists, curators, museum departments, specialists,
and boards of directors.

B. Materialization and Demise

1. Movement from impermanence, immateriality and immediacy to materialization

a. The production of objects, display in a gallery
b. Archiving and preservation

2. Interface with Institutions: The Cultural Loop

a. Work outside the institution
b. Claim that the institution is evil
c. Challenge the institution
d. Subvert the institution
e. Make yourself into an institution
f. Attract the attention of the institution
g. Rethink the institution
h. Work inside the institution

3. Interface with Corporations: Upgrade

a. The demand to follow in the trail of corporate production in order
to remain up-to-date and visible
b. The utilization of radical artistic strategies for product promotion

4. Critical Tips and Tricks for the Successful Modern net.artist

A. Promotional Techniques

1. Attend and participate in major media art festivals, conferences
and exhibitions.

a. Physical
b. Virtual

2. Do not under any circumstances admit to paying entry fees, travel expenses
or hotel accommodations.
3. Avoid traditional forms of publicity. e.g. business cards.
4. Do not readily admit to any institutional affiliation.
5. Create and control your own mythology.
6. Contradict yourself periodically in email, articles, interviews and
in informal off-the-record conversation.
7. Be sincere.
8. Shock.
9. Subvert (self and others).
10. Maintain consistency in image and work.

A. Whereby individual creative activities, rather than affiliation
to any hyped art movement becomes most valued.

1. Largely resulting from the horizontal rather than vertical distribution
of information on the internet.
2. Thus disallowing one dominant voice to rise above multiple, simultaneous
and diverse expressions.

B. The Rise of an Artisan

1. The formation of organizations avoiding the promotion of proper
names
2. The bypassing of art institutions and the direct targeting of corporate
products, mainstream media, creative sensibilities and hegemonic ideologies

a. Unannounced
b. Uninvited
c. Unexpected

3. No longer needing the terms "art" or "politics" to legitimize, justify
or excuse one's activities

C. The Internet after net.art

1. A mall, a porn shop and a museum
2. A useful resource, tool, site and gathering point for an artisan

a. Who mutates and transforms as quickly and cleverly as that which
seeks to consume her
b. Who does not fear or accept labeling or unlabeling
c. Who works freely in completely new forms together with older more
traditional forms
d. Who understands the continued urgency of free two-way and many-to-many
communication over representation